Kaiserin Maria Theresia (1717–1780): Repräsentation und visuelle Kommunikation
Österreichische Akademie der Wissenschaften / Kunsthistorisches Museum, Vienna, 29–31 March 2017
Registration due by 28 March 2017
Am 13. Mai 2017 jährt sich die Geburt von Maria Theresia zum 300. Mal. Als “Österreichs starke Frau” prägen ihre Person und ihre Bildnisse das kulturelle und politische Erbe der Habsburgermonarchie bis heute. Die mit ihr in Verbindung stehenden Mythen sind nicht nur historische Nachwehen eines vermeintlichen “österreichischen Heldenzeitalters”, sondern auch Produkte einer erfolgreichen Inszenierung ihrer Herrschaft, deren Mechanismen und Strategien im laufenden FWF-Forschungsprojekt “Herrscherrepräsentation und Geschichtskultur unter Maria Theresia (1740–1780)” an der Österreichischen Akademie der Wissenschaften (ÖAW) entschlüsselt werden. Das Projekt, das gemeinsam vom Institut für kunst- und musikhistorische Forschungen der ÖAW (Abteilung Kunstgeschichte) und dem Münzkabinett des Kunsthistorischen Museums Wien durchgeführt wird, veranstaltet anlässlich dieses Jubiläumsjahres vom 29. bis zum 31. März 2017 eine internationale und interdisziplinäre Tagung, die sich der Selbst- und Fremdinszenierung Maria Theresias aus kunsthistorischer, numismatischer und historischer Perspektive nähert.
Im Fokus steht die Frage nach einer spezifischen Repräsentationspraxis Maria Theresias, die sich aufgrund ihres weiblichen Geschlechts und der dynastischen und politischen Notwendigkeiten sowie unter dem ideengeschichtlichen Einfluss der Aufklärung konstituierte. Dabei wird Herrschafts- und Herrscherrepräsentation als Kommunikationsprozess verstanden, in dem Sender und Empfänger in einem ständigen Dialog stehen. Die Repräsentation der Monarchin und der Dynastie erforderte Medien, Symbole und Narrative, um Herrschaft konstituieren und stabilisieren zu können. Inhaltliche Schwerpunkte werden die unterschiedlichen Kunstgattungen (wie etwa Gemälde, Medaillen und Kupferstiche), Rangfragen, Zeremoniell sowie die Ausprägungen symbolischer Politik bilden. Durch Einbeziehung internationaler Fallbeispiele (Russland, Preußen und Frankreich) soll eine Diskussion zur monarchischen Repräsentation im Europa der Aufklärung intensiviert werden.
Kontakt: Dr. Sandra Hertel, Sandra.Hertel@oeaw.ac.at
M I T T W O C H , 2 9 M Ä R Z 2 0 1 7
14.00 Begrüßung: Michael Alram – Direktor des Münzkabinetts (KHM) und Vizepräsident der Österreichischen Akademie der Wissenschaften Einführung: Werner Telesko – Direktor des Instituts für kunst- und musikhistorische Forschungen der ÖAW
14.30 Panel: Inszenierung von Herrschaft und rituelle Politik
• Thomas Lau (Fribourg), Schwieriges Erbe – der Herrschaftsantritt Maria Theresias
• Barbara Stollberg-Rilinger (Münster, Westfalen), ‘Zugänglich für den Geringsten der Untertanen’. Von der Logik des Mythos
• Katrin Keller (Wien), Kaiserin und Reich. Warum Maria Theresia 1745 nicht gekrönt wurde
• Marina Beck (Passau), Das Hofzeremoniell als Medium der Herrschaftsinszenierung Maria Theresias
• Wolfgang Schmale (Wien), Maria Theresia, das 18. Jahrhundert und Europa
D O N N E R S T A G , 3 0 M Ä R Z 2 0 1 7
9.00 Panel: ‘Die Erbin so vieler Länder und Reiche’ – Das Kaiserpaar und seine Herrschaften
• Sandra Hertel (Wien), Ein einzigartiges Erzhaus. Das Geschichtsbewusstsein Maria Theresias am
• Renate Zedinger (Wien), Kongeniale Partner? Maria Theresia und Franz Stephan von Lothringen im Spiegel zeitgenössischer Quellen
• Klaas Van Gelder (Gent), Die Herrscherin auf der städtischen Bühne. Städtisches Zeremoniell und die Repräsentation Maria Theresias in den Österreichischen Niederlanden
• Szabolcs Serfőző (Budapest), Bilder und Konzepte des ‘Regnum Hungaricum’ zur Regierungszeit Maria Theresias
14.00 Panel: ‘Je öfter Du dich zeigst, je mehr gewinnt dein Ruhm’. – Akteure und Adressaten der maria-theresianischen Repräsentation
• Michaela Völkel (Potsdam), ‘Sehen wollte und sollte man alles’. Kupferstiche als Form medialer repräsentativer Öffentlichkeit im Zeitalter Maria Theresias
• Marian Füssel (Göttingen), ‘Theresia fiel nieder und tanzt seitdem nicht wieder’. Die ‘Königin von Ungarn’ in der preußischen Propaganda während der Schlesischen Kriege
• Stefanie Linsboth (Wien), Herrscherin und Heilige? Religiöse Visualisierungen Maria Theresias im Spannungsfeld der Akteure
• Anna Fabiankowitsch (Wien), ‘zur sache immerwehrenden gedächtnus’. Direktiven zur Produktion von Medaillen unter Maria Theresia
F R E I T A G , 3 1 M Ä R Z 2 0 1 7
9:00 Panel: Herrschaft auf Augenhöhe? Repräsentation im europäischen Vergleich
• Michael Schippan (Wolfenbüttel), Maria Theresia und Katharina die Große. Die Herrscherrepräsentation zweier europäischer Regentinnen im Vergleich
• Michael Yonan (Columbia, Missouri), Picturing Empress Maria Theresa in Eighteenth-Century Denmark, Sweden, and Russia
• Heinz Winter (Wien), Die Medaillen Maria Theresias im europäischen Vergleich
• Christina Kuhli (Hamburg), ‘La gloire de Louis XIV et XV’. Medien und Inszenierungen von Herrschaft zwischen Absolutismus und Ancien Régime
• Werner Telesko (Wien), Die ‘aufgeführte’ Kaiserin. Maria Theresia und die habsburgische Herrscherrepräsentation
13.15 Abschluss und Ergebnissicherung
Installation view of the exhibition Good Hope: South Africa and The Netherlands from 1600 at the Rijksmuseum in Amsterdam, 14 February 2017; photo by Olivier Middendorp.
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Now on view at the Rijksmuseum:
Good Hope: South Africa and the Netherlands from 1600
Rijksmuseum, Amsterdam, 17 February — 21 May 2017
Curated by Martine Gosselink
The arrival of the Dutch changed South Africa forever. The population’s composition and the introduction of slavery by the VOC (the Dutch East India Company) resulted from ties with the Netherlands. But this also applies to the language, Afrikaans, the legal system, the protestant church, the introduction of Islam, the typical façades, and Dutch names on the map. The relationship with South Africa also changed the Netherlands. The Boer Wars around 1900, countless ‘Transvaal districts’ in Dutch cities, and the violent anti-apartheid struggle of the 1980s symbolise a continuously tempestuous relationship. In this exhibition, around 300 paintings, drawings, documents, photos, items of furniture, souvenirs, tools, and archaeological discoveries give a vivid impression of the culture shared and the influence reciprocated by the two countries.
Robert Jacob Gordon’s landscape panoramas, several metres long, occupy a prominent place in the exhibition. This Dutch traveller illustrated 18th-century South Africa, giving the country an identity. The imposing portraits of children born after 1994—when apartheid was abolished—by the South African photographer Pieter Hugo illustrate South Africa’s future. Along with the exhibition, the NTR (Dutch public-service broadcaster) will be broadcasting a seven-part TV series presented by Hans Goedkoop. The exhibition is produced under the directions of Martine Gosselink, Head of the History Department at the Rijksmuseum.
“The Good Hope exhibition illustrates a significant aspect of Dutch colonial history in all its nuances—a tale that is both painful and striking, but more especially disturbing and recognisable.”
–Adriaan van Dis, Dutch writer, Africa specialist, and the exhibition’s narrator
Symposium—Good Hope for a New Generation: Reflections on Diversity and Change in South Africa and the Netherlands, 5 April 2017
The aim of this symposium is for the Dutch and South Africans to learn from each other in building an open and diverse nation where talents can develop. For this symposium, two South African speakers are invited to reflect on the past and especially on the future of the new generation.
Martine Gosselink, Maria Holtrop, and Robert Ross, eds., Good Hope: South Africa and the Netherlands from 1600 (Amsterdam: Rijksmuseum, 2017), 376 pages, ISBN: 978 94600 43130, €35.
A richly illustrated book accompanies the exhibition, containing 56 contributions from 26 authors from the fields of literature, language, art history, archaeology, politics, and journalism.
Norwich and the Medieval Parish Church, ca. 900–2017: The Making of a Fine City
Norwich Cathedral Hostry, 17–18 June 2017 (with site visits on 19 June)
A conference hosted by The Medieval Parish Churches of Norwich Research Project, undertaken at the University of East Anglia and funded by The Leverhulme Trust.
All 58 churches—whether existing, ruined, or lost—are included in the scope of the project, which seeks insight into how the medieval city developed topographically, architecturally, and socially. The project is intended to reveal the interdependent relationship between city, community, and architecture showing how people and places shaped each other during the Middle Ages. The conference—supported by the Paul Mellon Centre for British Art and Purcell—will present the medieval parish churches of Norwich in their immediate local context and in the broader framework of urban churches in Britain and northern Europe. The subject range will include documentary history, the architectural fabric of the buildings themselves and their place in the topography of Norwich, the development of the churches’ architecture and furnishings, the representation of the churches, and their post-Reformation history.
In addition to the medieval lines of inquiry, the conference will include papers addressing the churches of Norwich from a long eighteenth-century perspective. Roey Sweet will discuss the rise of the concept of the historic town, which became established in the nineteenth century. William Jacob will consider the changes that Norwich churches underwent in the Georgian period in relation to the Prayer Book and concepts of politeness. David King will address the evidence for stained glass provided by seventeenth- and eighteenth-century antiquaries, and Clare Haynes will explore the medieval imaginaries that were engaged in the antiquarian, topographical, and archaeological visual record of the churches.
Full details, including timings and costs, to be announced in the coming weeks. Bookings will be taken from early March 2017. Provisional reservations can be made by email to firstname.lastname@example.org.
In addition to this year’s regular ASECS offerings, the schedule will include a memorial gathering dedicated to Mary Sheriff (1950–2016).
Please join us Thursday, March 30, from 6:00 to 7:00pm as we remember our colleague, dear friend, and mentor. There will be a cash bar, a short program, and an opportunity for people to share memories and celebrate Mary’s vibrant life.
The room is Lakeshore A, on the first floor of the Hyatt Regency Minneapolis. Please email Joanna Gohmann at email@example.com or Hyejin Lee at firstname.lastname@example.org with any questions.
Left: Gilles Demarteau after Edme Bouchardon, Model Posing for ‘The Genius of Summer’, ca. 1740s–50s (Los Angeles: Getty Research Institute, 2015.PR.58). Right: Edme Bouchardon, The Genius of Summer, 1745 (Paris: Grenelle Fountain).
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Bouchardon and His Contemporaries
The Getty Center, Los Angeles, 2 April 2017
In parallel with the exhibition Bouchardon: Royal Artist of the Enlightenment (on view at the Getty Center until 2 April), this symposium explores the relationships Bouchardon had with his contemporaries (artists, patrons, and connoisseurs) and investigates the diffusion and reception of his oeuvre. Admission to this event is free, but a ticket is required to attend. More information is available here.
Malcolm Baker, University of California, Riverside
Anne-Lise Desmas, J. Paul Getty Museum
Peter Fuhring, Fondation Custodia
Thomas W. Gaehtgens, Getty Research Institute
Edouard Kopp, Harvard Art Museums
Monique Kornell, University of California, Los Angeles
Ewa Lajer-Burcharth, Harvard University
Louis Marchesano, Getty Research Institute
Guilhem Scherf, Musée du Louvre
Katie Scott, The Courtauld Institute of Art
Kristel Smentek, Massachusetts Institute of Technology
Perrin Stein, The Metropolitan Museum of Art
Juliette Trey, Musée du Louvre
Frederick MacKenzie, The National Gallery When at Mr J. J. Angerstein’s House, Pall Mall, 1824–34, watercolour
(London: V&A, 40-1887)
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From the conference programme:
Private Collecting and Public Display: Art Markets and Museums
University of Leeds, 30–31 March 2017
Registration due by 20 March 2017
The Centre for the Study of the Art and Antiques Market at the University of Leeds is delighted to announce that registration is now open for an international two-day conference exploring the relationship between the ‘private’ and ‘public’ spheres of the art market and the museum. This interdisciplinary conference offers the opportunity to hear new research in the fields of art market studies, museum studies, and the histories of collecting. Registration information is available here. For any further information, please contact email@example.com.
T H U R S D A Y , 3 0 M A R C H 2 0 1 7
9.30 Welcome, Mark Westgarth, Director, Centre for the Study of the Art & Antiques Market, University of Leeds
9.45 I | Birth of the Museum
• Marie Tavinor (Christie’s Education, London), The ‘Potent Tate’ and the Founding of the Tate Gallery: An Insight into Taste and the Politics of Donation in Late Victorian England
• Margaraet Iacono (The Frick Collection, New York), Going Public: The Frick Collection’s Transformation from Private Home to House Museum
• Helen Glaister (Victoria & Albert Museum, London), From Buxted Park to South Kensington and Beyond: The Ionides Collection of Chinese Export Porcelain
11.00 Coffee and tea
11.30 II | Legacy through Display: From Private to Public
• Nicole Cochrane (University of Hull), Ancient Sculpture and the Narratives of Collecting: (Re)Contextualizing Museum Space
• Alison Clarke (University of Liverpool / National Gallery London), Pure Eighteenth-Century Art Unspoiled by Any Element Foreign to Its Nature: The Agnew’s Exhibitions of The Frick Fragonards
• Isobel MacDonald (University of Glasgow / The Burrell Collection), Tracing The Development of the Burrell Collection from Deed of Gift (1944) to Pollok Park, Glasgow (Present Day)
1.45 III | Dealers and Markets: Thinking of the Past, Looking towards the Future
• Pamella Guerdat (University of Neuchatel, Paris), A Heritage under Construction: René Gimpel’s (1881–1945) Roles between Private Collectors and Public Museums
• Ana Mântua (Dr Anastácio Gonçalves House Museum, Lisbon), One Man’s Choices and the Portuguese Art Market, 1925–1965
• Kerry Harker and John Wright (University of Leeds), Blurring the Boundaries: Reconsidering ‘Public’ and ‘Private’ in the Alternative Art Market Activities of Artist-Led Groups, Organisations, and Collectives
3.00 IV | Power, Influence, and Agency: A Critical Look at Private Collections Going Public
• Pier Paolo (IES Abroad Italy, Rome), From Objects of Devotion to Icons of Beauty: The Institution of the National Museum in the Vatican at the Time of the Roman Republic, 1798–99
• Verda Bingol (Istanbul Technical University), From the Cradle to the Museum: The Elgiz Collection
• Dorothy Barenscott (Independent Art Historian), Steve Wynn: Art Collecting and Exhibition, ‘Vegas Style’
4.15 Coffee and tea
4.45 Keynote Address
• Susanna Avery-Quash, Senior Research Curator (History of Collecting), National Gallery London
6.00 Drinks Reception
F R I D A Y , 3 1 M A R C H 2 0 1 7
9.40 V | The Visibility of Private Collections within the Public Arena
• Marcela Drien (Universidad Adolfo Ibáñez, Chile), Exhibiting Domestic Museums: Chilean Art Collectors at Santiago’s Exposicion Internacional of 1875
• Rasmus Kjaerboe (Ribe Art Museum, Denmark), Collecting To Be Modern: The Early Twentieth-Century Art Collections of Prince Eugen, Ernest Thiel, and Klas Fåhraeus
• Kathryn Brown (University of Loughborough), Patrimony and Patronage: Collecting and Exhibiting Contemporary Art in France
11.00 Coffee and tea
11.30 VI | Museum Quality? Deaccessioning Museums onto the Art Market
• Gareth Fletcher (Sotheby’s Institute of Art, London), But Is It Really Museum Quality? – Evaluating the Impact of Institutional Provenance within the International Art Market
• Nicola Sinclair (University of York), ‘You Have Culled One or Two Beauties But the Memorial of Art Is Gone’: How (Not) To Translate Paintings of Historical Value from Private to Public Collections and back again in Mid-Nineteenth-Century Britain
• Martin Hartung (ETH Zürich, Switzerland), A Philanthropic Legacy: The Controversial Case of DIA in New York
1.45 VII | Private Collections and Public Museums: Working across Boundaries
• Kate Beats (University of Cambridge), Cambridge’s First Museums: The Private College Collections behind the Public Museums in Cambridge
• Helen Ritchie (Fitzwilliam Museum, Cambridge), The Frua-Valsecchi Collection at The Fitzwilliam Museum: A Case Study
• Tom Boggis (Holburne Museum, Bath), Public Collection, Private House: Display of the Heveningham Furniture Collection in the Twentieth Century
3:00 Coffee and tea
3.30 Round Table Discussion
5.00 Closing Remarks
From the workshop flyer:
The Pencheon Collection in Context: Collecting and Recollecting the French Revolution
University of Leeds, 17 March 2017
The Pencheon Collection in the Brotherton Library, University of Leeds, of material relating to the French Revolution contains nearly 3,000 volumes in French and English along with boxes of miscellaneous items—manuscripts, pamphlets, prints, maps, booksellers’ catalogues, newspaper clippings, correspondence and additional ephemera—many of them related to the process of collection. It was created by James Michael Pencheon (1924–1982), a neurosurgeon and psychiatrist, who had studied medicine at the University of Leeds but who then developed an interest in the historical knowledge of the French Revolution ostensibly outside his disciplinary field, but perhaps inflected by his research in psychology. This resource raises questions about the formation of the cultural memory of the French Revolution in Britain, about the role and approach of individual collectors of materials on the French Revolution, and about what can be learnt about the acquisitions policies and subsequent use of such collections in university libraries. This workshop will enable networking about the collection and its use to begin.
Speakers—including Madame Valérie Guillaume, Directrice of the Musée Carnavalet, Paris, and leading UK specialists from the fields of History, History of Art, and French Studies—will give short presentations on their work on analogous collections, sharing insights and ideas and helping us to refine our aims and objectives for the future exploitation of the collection. All are welcome to attend. The £20 cost includes lunch and refreshments. Registration information is available here.
Contacts: Dr Valerie Mainz, firstname.lastname@example.org; and Dr Paul Rowe: P.Rowe@leeds.ac.uk
In collaboration with the Institut français du Royaume-Uni and the Centre for the Comparative History of Print (CentreCHoP)
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P R O G R A M M E
• Valerie Mainz, School of Fine Art, History of Art and Cultural Studies, University of Leeds
• Paul Rowe, School of Languages, Cultures and Societies, University of Leeds
10.15 French Revolutionary Collections in Britain, 1: The Contexts and Methodological Challenges
• Tom Stammers, Department of History, University of Durham/Bowes Museum
• Richard Taws, Department of History of Art, UCL London/UCL prints
11.30 Plenary: The Musée Carnavalet and the Collecting of the French Revolution in France
• Valérie Guillaume, Directrice, Musée Carnavalet
12.15 French Revolutionary Collections in Britain, 2: The Contexts and Methodological Challenges
• Kate Astbury, School of Modern Languages and Cultures, University of Warwick/Marandet Collection
• Phillippa Plock, Waddesdon Manor/Ferdinand de Rothschild Collection
14.15 The French Revolution in Britain: Historians’ Perspectives
• Munro Price, Department of Peace Studies and International Development, University of Bradford
• Juliette Réboul, Historical, Literary and Cultural Studies, Radboud University, Nijmegen/Emigrés and memoirs
15.15 The Psychopathology of the French Revolution
• Mechthild Fend, Department of History of Art, UCL London
15.45 Round Table: The Potential of the Pencheon Collection and Next Steps
• The Pencheon Collection as a resource for researchers
• Studying the Pencheon Collection: UG, PGT, PGR
• Public engagement
• What are the priorities?
In addition to this year’s regular CAA offerings, the schedule includes a memorial session for Mary Sheriff (other Enfilade postings for CAA 2017 have been updated with the addition). The session is open to the public, and no conference registration is required to attend. Tara Zanardi’s session ‘Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact’ (Friday, 17 February 2017, 10:30–12:00) will also be dedicated to Mary.
Beyond CAA, other events are planned, including two symposia in conjunction with the exhibition Becoming a Woman in the Age of Enlightenment, curated by Mary Sheriff and Melissa Hyde. In addition, there’s a gathering in Paris at INHA scheduled for Saturday, February 25 at 3:30 in the Salle Mariette.
Key Conversation: Mary Sheriff (1950–2016): A Memorial Session
Saturday, 18 February 2017, 12:15–1:15, Madison Suite, 2nd Floor
Chair: Francesca Fiorani (University of Virginia)
Join this session to remember Mary Sheriff. Come together, share memories, and celebrate her achievements.
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Note (added 26 January) — The original posting listed an incorrect date for the Paris event; it’s been corrected.
Assembled garniture, porcelain from Jingdezhen and Dehua, China, 1650–1720, on an English japanned cabinet, ca. 1680, in the British Galleries at the Victoria and Albert Museum, London (Photo: Peter Kelleher).
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Garnitures: Vases in Interiors
Victoria and Albert Museum, London, 17 March 2017
Organized by Matilda Pye, Patricia Ferguson, and Reino Liefkes
The focus of this one-day symposium is the garniture, assembled or matched sets of primarily ceramic vessels, displayed in European interiors from 1620 and 2017. It will contextualize and enhance the ground-breaking Garnitures: Vase Sets from National Trust Houses, a temporary display in the Ceramics Gallery at the Victoria and Albert Museum, on view until 30 April 2017, and curated by Patricia Ferguson, Honorary Adviser on Ceramics to the National Trust, with Reino Liefkes, Senior Curator, Victoria and Albert Museum. The Headley Trust has generously supported the display, a publication of the same title and this symposium.
Many of the leading international ceramic specialists and contemporary makers will explore national differences in how European tastemakers and followers used garnitures to ornament and enliven interiors in the Netherlands, France, Saxony, and Britain. These displays were typically dictated by innovative architectural features in elite interiors, such as the development of the chimneypiece in France in the mid-seventeenth century, as well as the furniture types associated with these cultures and available materials: Asian porcelain, Dutch delftware, French faience, silver, and European porcelain. The papers will cover the use of the vase in China, its adaptation and collection in the West, the impact on the potteries in Japan and Delft and at porcelain manufactories in Germany at Meissen, and in France at Sevres, in addition to the revival of interest among collectors in the nineteenth century.
As evidence that artists and ceramicists are still fascinated by the idea of the series and repetition in forms, colours, and pattern, the day will conclude with papers by artists Edmund de Waal and Matt Smith—both well known for their site-specific ceramic work in museums, galleries, and historic houses—who will share their own personal responses to this interior phenomenon. Other speakers will include Dr. Yu-ping Luk, curator, Chinese collections, Asian Department, V&A; Patricia Ferguson; Suzanne Lambooy, curator applied arts, Gemeentemuseum, The Hague, Netherlands; Dr. Julia Weber, director, Porzellansammlung, Staatliche Kunstsammlungen, Dresden, Germany; Dame Rosalind Savill, DBE, FSA, FBA, President of the French Porcelain Society, and former Director of the Wallace Collection; Tamara Préaud, the former Archivist, Manufacture Nationale de Sèvres, France, Selma Schwartz, Associate Curator, Waddesdon Manor, The National Trust. The conference will be of interest to students and scholars of Asian, European and Contemporary ceramics, silver, the country house, the history of the interior, collecting, and taste. The day will conclude with a lively round table discussion.
The full conference fee is £25; concessions available. To book, please follow this link.
P R O G R A M M E
10.30 Matilda Pye (Learning Academy, V&A), Welcome
10.35 Patricia Ferguson (Curator, Vase Sets from National Trust Houses), Introduction
11.00 Suzanne Lambooy (Gemeentemuseum, The Hague), Delft Garnitures in the Dutch Interior
11.25 Yu-ping Luk (V&A), The Vase in China
11.45 Ros Savill (Former Director Wallace Collection), Vincennes and Sevres Garnitures
12.15 Tamara Preaud (Former Archivist Sèvres, Cité de la céramique , Musée National de Sèvres), Evidence of Biscuit Figures in Sevres Garnitures
12.45 Lunch Break
13.45 Selma Schwartz (Waddesdon Manor, National Trust), Collecting in the 19th Century: Sevres Garnitures at Waddesdon Manor
14.05 Julia Weber (Porzellansammlung, Staatliche Kunstsammlungen, Dresden), Meissen and Garnitures in the Collection of Augustus the Strong
15.00 Edmund de Waal and Matt Smith, Contemporary Perspectives
Early Modern Viewers and Buildings in Motion
St. John’s College, University of Cambridge, 25 February 2017
Registration due by 12 February 2017
Movement, both literal and metaphorical, lies at the heart of early modern European architectural theory, design and experience. Architectural authors invoked the notion of progress as temporal motion, structured their books as tours of buildings, and followed the ancient Roman Vitruvius in explaining how to manipulate the motions of winds through building design. Simultaneously, poets led their readers on tours of house and estate, and Aristotelian as well as mechanistic philosophers averred that motion was inherent to human perception from particle vibrations in one’s senses to neural vibrations in one’s brain. Across a range of scales in actual lived experience, moreover, viewers and buildings were frequently in motion; people walked through built spaces, interiors contained portable furnishings, and travellers and prints circulated ideas of buildings internationally.
This conference seeks to examine the range of scales, media, and theoretical discussions which foreground early modern intersections of architecture and motion. In so doing, it both puts into motion the usually static viewer and building of historical narratives and merges often independent yet overlapping strands of analysis—for instance, the ‘mobile viewer’ studied by art historians Michael Baxandall and Svetlana Alpers and the tensions surrounding early modern globalization discussed by cultural historians. These and other strands of inquiry are brought together by an international, interdisciplinary group of speakers examining case studies encompassing England, France, Italy, German-speaking areas, and the New World during the fourteenth through nineteenth centuries.
Supported by St. John’s College, University of Cambridge and by the Institute of Advanced Study, the Institute of Medieval and Early Modern Studies, and the School of Modern Languages and Cultures, Durham University.
The fee, which includes lunch and refreshments, is £15. More information is available here»
P R O G R A M M E
10.00 Welcome | Frank Salmon (University of Cambridge) and Kimberley Skelton (Durham University)
10.05 Session 1 | Chair: Kimberley Skelton (Durham University)
• Allison Stielau (University College London), The Censer as Mobile Mini-Building, Swung Structure, and Producer of Olfactory Space
• Andrew Chen (University of Cambridge), Fourteenth-century Ascetic Imagery in a Staircase at Santa Maria della Scala, Siena
• Donal Cooper (University of Cambridge), Fleeting Visions: Occluded Altarpieces and Mobile Eyes in the Italian Renaissance Church Interior
12.00 Session 2 | Chair: Frank Salmon (University of Cambridge)
• Stefano Cracolici (Durham University), The Poliphilo Syndrome
• Kimberley Skelton (Durham University), Sensory Vibrations and Social Reform at San Michele a Ripa in Rome
• Bram Van Oostveldt (University of Amsterdam/Leiden University), Frantic Memories and Excessive Objects: Monicart’s Versailles immortalisé ou les merveilles parlantes de Versailles (1720)
2.30 Session 3 | Chair: Donal Cooper (University of Cambridge)
• Caroline van Eck (University of Cambridge), Moving through Space and Time: Immersive Spaces at the Hôtel de Beauharnais in Paris
• Edmund Thomas (Durham University), Movement Through Ruins: Re-experiencing the Antique in Eighteenth-Century Travelogues
• Rebecca Tropp (University of Cambridge), Movement and the Central Core: Design Principles in the Country Houses of John Nash
4.30 Session 4 | Chair: Stefano Cracolici (Durham University)
• Daniel Jütte (New York University/University of Cambridge), Entering the Early Modern City: Gates as Sites of Passage
• James Campbell (University of Cambridge), Libraries in Motion
• Emily Mann (University of Kent), From Ship to Shore: The Architecture of Early Modern Trading Companies
6.00 Wine Reception